Case is connected with the picture of Charles Guna "Gypsy with a child," which one of Moscow galleries have sold a German citizen Alexander Belikovsky. The painting was common property and Belikovskogo Veiherte.
The deal amounted to 520,000 dollars. It later emerged that the same pattern in 2006 was sold at an exhibition in Paris Massol. However, as there's little-known works was given Carl Adolf Gugel. Moreover, the price pattern was only 5,000 euros. Painting was called "Italian with a child." In the lower right corner has been left as a signature of the author.
Meanwhile, Belikovsky known in Europe as a trader knockoffs of expensive works of art. His interest in the activities of even the Interpol, the magazine writes.
As stated by the owner of the Moscow gallery, she saw a picture in the gallery Veiherte. Later, she asked for the conclusion of the Association of experts in art and antiques. The document stated that the examination has confirmed the authenticity of the work. True, the buyer thought it strange that a number of experts included myself Veiherte. Nevertheless, the transaction took place.
Later, the new owners had a re-examination at the Tretyakov Gallery, which houses a number of works Gouna. Experts acknowledged that the picture was painted in the second half of the XIX century, but the author's signature forged. The work was painted by another author, possibly because of the environment Gouna.
Veiherte refuses to comment on the situation. In turn, her lawyer Alois Vaznis said that early to draw conclusions, as it is necessary to reassess the comparative examination.
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Pyotr Aven ... "During his lifetime, I have bought three or four fake stuff ..."
Acquisition of fakes
Pyotr Aven, a member of the Supervisory Board of Directors of Alfa-Group »: When a purchase is made in the hype, often believe the seller's word, which do not in any way. During my life I have bought three or four fake stuff. All of them were expert at the Tretyakov Gallery. Unfortunately, there are dishonest experts who say the money for anything, including the Tretyakov Gallery. Although the bulk of it, of course, you can unconditionally trust. But who can and who can not begin to deal only with the years. When I assert that a thing "from a good collection," I ask of what, and I respond that it can not tell, all negotiations shall be terminated immediately. Stories about that thing from the collection of the city of Yerevan and "get me from my grandmother, listening to categorically impossible. This will protect from errors.
Kantor, president of the European Jewish Congress,:
When the market comes a new collector, it becomes a target for how many honest and dishonest operators. Several times I nearly became a victim. Came to see me once a very well-known French expert in the field of serious shagalovedeniya aged under 80 years old, and offered a picture of Chagall, who had some kind of magic history. Chagall's sister allegedly kept it under his bed and left a legacy to his son. She attributed the all the way up to the Committee Chagall (there is such at Paris). It was a self-portrait of Marc Chagall, and its reproduction has brought me to this expert, whose name I do not call out of respect for his age. And then he began to tell, how could bestow upon me for $ 30 million one it seemed to me suspicious: why he brought me his wife? She sat across from me and drilled me with his eyes. And I began to think: if this is such a good picture, why was take his wife with him, which clearly verifies that I believe her husband or not? It was quite a lot of work around 90h65 cm, the young Chagall with a palette, standing before the canvas, and the images just jumped from the palette onto the canvas. Here's a direct compilation from other works of Chagall. So subjective time pushed me to think: why I check? Because the collector is easy to check: to pay or not pay. And I said to him: bring - we'll see. 2-3 days she appears in my Geneva; a beautiful picture, good frame. By Chagall painting accompanied by a letter to his sister, sister's son, the letter of the son. I thought: this is all real people, and some of them probably still alive. And, still smiling, and the seller is not paying attention to the certificates Chagall Committee, I have become, through its security services to find out where all these people now. They quickly found, we have met, and they said that it is all nonsense: they never did not write those letters. After receiving such evidence, I began to look closely to the very portrait. After all Chagall was a man who adores his appearance - the picture was written so ugly! So it should always be wary.
Vladimir Semenikhin, chairman of the board of directors of Group companies Stroyteks »: Fraud in the attribution of works of art - is a global issue. After all, the expert is not liable for this false assessment. It's his personal opinion. Therefore, trust can only imagine. I once sold a genuine work of the famous artist, just forged on it a year - and this has greatly changed its price. True, I quickly figured out fraud and scams made the money back. But this case has forced me to become more attentive to detail when buying paintings.
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(In the photo - Portrait of Ivan Shchukin, brother of a famous collector Sergei Shchukin. He gathered a large collection of paintings, and when it was revealed that 90%- fake shot.)
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Scandals and revelations of art fraud - is not new in the art world. One of the latest revelations - a sensational statement of the Polish art Qaysi Pisarek (Kasia Pisarek) in the British journal «ArtWatch». She argues that a recognized authority among connoisseurs Rubens German scholar Ludwig Burchard (Ludwig Burchard) - forger.
It turns out that the paintings attributed to Rubens Burchard, in fact, belong to the wrist of his students or followers - painters of the XVII century. Random whether such a mistake? Many critics believe that the mistake here is quite acceptable: the authorship of works by Rubens always recognized more or less likely. The problem is that the studio of Rubens in his life was a "belt" on which the collective efforts of the master and his students created hundreds of paintings. The issue here is the degree of participation of the wizard.
Qaysi Pisarek believes that Burchard knowingly signed the controversial expert advice available to them to private collectors and museums. As one of the proofs of the researcher leads Burkhard correspondence with friends. For example, in a letter written by scientists to his friend in 1954, stating that the film "Gideon, who overcomes madiamityan» («Gideon Overcoming the Midianites»), in his opinion, is the product of the XVII century. Not owned by Rubens.
But soon, one of the London gallery receives a certificate signed by Burchard that the undoubted author of the picture is a Rubens. Such expert opinion helps low-selling "Gideon" at the Art Museum of North Carolina (North Carolina Museum of Art). At the request of Qaysi Pisarek the repeated analysis of the paintings at the Center for Flemish art in Antwerp (Centre for Flemish Art), And now, almost 50 years later it was proved that the painting was painted by "follower of Rubens."
Suspicion is also the most famous "discovery" Burkhard - picture of "Samson and Delilah» («Samson and Delilah») - fabric, based in over two hundred years in the collection of Princess Liechtenstein. Burkhard predecessors - the scientists, describes the collection in 1767, 1780 and 1873., Recognized author pupil of Rubens paintings - Jan van den Hoek (Jan Van Den Hoecke). Thanks to a sensational "discovery" Burkhard, announced in 1929 by the author of Rubens' Samson and Delilah ", the painting was purchased by the London National Gallery, where it is now.
The result of this "discovery" disappointing - author of nearly 60 paintings by Rubens, are in the best museums and galleries in the world in doubt.
Fakes painting, reflecting their age, have always existed, as symbols of wealth and culture, tastes and preferences relevant period. The history of forgeries originated during the Roman republic, when the masterpieces of Greek art were copied and sold by the Roman patricians as the originals. In medieval times, the treasury of the churches and abbeys were replenished fake relics. Renaissance spawned numerous fake antiques. For example, the sculpture "Sleeping Cupid of Michelangelo, to the effect of aging was buried in the ground, and then again" unearthed "and sold to an Italian cardinal, for 200 ducats. In the same era were the first forgery in the field of graphics - the fake prints by Durer signed his monogram.
Painter and connoisseur of art Vasari-collecting the most successful forgery, had in its collection a copy of the painting by Tommaso della Porta, which is valued for its high quality.
In the sixteenth century, some fakes created by "highest" order. For example, a copy of Raphael "Portrait of Pope Leo X», was executed in 1524 by the artist Andrea del Sarto commissioned by Pope Clement VII. The original of Raphael liked the Duke Federigo Gonzaga II. However, Pope Clement VII, not wanting to give a picture, but also afraid to refuse, devised a trick by sending a copy of the Duke.
In the seventeenth century copies of paintings by artists considered as a fun and proof of their professional skills. Extant forgery, executed by Pietro della Vecchio - a copy of Giorgione, Terence da Urbino - Raphael, Hans Hoffman - drawings by Durer, and Luca Giordano - the most famous forger of works by Titian, Tintoretto, etc. Interestingly, he won a court case brought by fans Art, who cheats execution and the integrity of his fakes.
The first in the history of the author, the authenticity of his works, was Claude Lorrain. He prepared a book of drawings and prints from their paintings, to stop the flow of fakes, extended even during his lifetime.
Historical painting of the XVIII century. almost never copied, unlike the genre scenes and gallant festivals that have become the subject of role models in the nineteenth century. In Italy at this time of popularity enjoyed numerous fake Pompeii paintings that appeared in the Neapolitan master Giuseppe Hera.
In the XIX century - the "golden age" of fakes, art has become highly visible commercial nature. Moreover, not only tampered with the works of old artists, but also works of major modern masters such as Courbet, Millet and Corot, etc. are sometimes signed his name pictures of their students who needed or friends.
Unlike previous eras, today's forgers do not falsify the picture antique. The most famous fakes in our time are copies of Van Gogh's painter Otto Wacker (1930), a fake Utrillo (1950), as well as meeting Meadows, consisting of "false" Matisse, Picasso and Modigliani.
In the field of ancient art can note a fake medieval frescoes in St. Mary in Lübeck, written by Lothar Malskatom and died in 1950, as well as fake Vermeer, by Hans van shrews. He created a copy of the painting "Christ at Emmaus," which confirmed the authenticity of authoritative experts, was bought in 1937, the Museum Boijmans Van Beuningen in Rotterdam. Moreover, it is fraud revealed only in 1945, becoming the subject of lively debate.
From site Maricevic Fine Art & Antiques http://www.maricevicfineart.com/new-...tion/story.php
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Elena Basner one of the authors of a new method for determining the fakes.
Questions answered by Elena Basner, a renowned expert on Russian avant-garde, a consultant auction house Bukowski's, one of the authors of a new method for determining the fakes.
- Indeed among the Russian avant-garde many fakes? What is the scale of disaster?
- To date, they have devastating. Russian avant-garde began to falsify, as soon as there was demand for it. He appeared in the early 1960's after the first Western show of Mikhail Larionov, Natalia Goncharova, Kazimir Malevich. A few years later there were fakes. Rapid growth has occurred at the turn of 1980 - 1990's, when we were big exhibition of Malevich, Kandinsky and other artists with major directories. The quality of counterfeits has improved markedly.
When in 2000 the State Russian Museum we have been preparing major exhibition catalog Malevich, I had my doubts about whether to publish the enlarged fragments, the reverse side of the canvas and the details of the painting technique. Seeing the thing to get an eye "in the paint, you can, but be aware of counterfeiting technology artist. The Museum has decided that for scientific publications should be radically disclose any basis artist's creative method, and took a new leap in the production of fakes.
- What the researchers - they know exactly where the original, and where a fake?
- In our eyes, born some alternative history of art: a vanguard of so many donapisali that there was a divergent range of options already on the not entirely reliable things. Researchers unable to verify the entire chain, according to their originals. Reference base owned by only a few museums in the world and go there to work with her, is not easy.
More recently, this year in Finland, Turku hosted an exhibition "Circle - Line - Point. Russian avant-garde from private collections, where there was no real work.
- but the biography of the leading avant-garde artists have been thoroughly investigated by experts.
- Yes, you create Malevich first, historical, versions of "Black Square" is known to date - according to Alexandra Shatskih is June 8 (Old Style), 1915. But the artists in the early twentieth century was not the secretaries, who recorded their livelihoods on the clock. Of course, some work behind the scenes.
- Which of the Russian avant-garde counterfeited most?
- Malevich, Kandinsky, Popova. However, now fake almost all the classics - Tatlin, El Lissitzky, Cluny, Rodchenko, Stepanova. And the next round - and Nina Kogan and Vera Ermolaev. In general - is all of whom survived at least a name.
- Who is easier to fake, someone difficult?
- A misconception that non-objective painting is easier to forge. Specialist, knowing how this artist has built a space of his paintings as he worked with the texture, always feel falshaka. For example, in certain cases, Malevich worked as a thin brush as a chaser. Do not expect me to detail. I'm not going to help manufacturers fakes.
Russian avant-garde attitude to his work as a ministry, and it is felt in the paintings. For me, Popov - always recognizable. Another matter that is difficult to formalize their feelings. And then come to the aid of technology. But even here the traditional methods of research has its own complexity. And now there are pigments that are identical to the same. So you can catch poddelschikov mainly from their mistakes. For example, cadmium red was used in the manufacture of paint since 1909, and it can not be in the picture, say, 1905.
Or the notorious titanium white, which in the West began to be used in the 1930's, but to us they got somewhere in the fifties. Some insolent use acrylic, widely spread in the paint as a binder of about 40 years ago. Or more fresh PVA.
But if "falshivoizgotovitel" did not take komprometantnyh paints, then falshaka catch much harder. Eye sees a fake, and personal experience says the same thing, but to explain in words I can not do.
- And as if that be?
- I have long been interested in the objective criteria for dating the paintings of the twentieth century. My colleague Anna Vasilieva shared with me the thought that the important thing here - not a pigment and binder. Measure of destruction of oil gives information about the time of painting. Over a hundred years, it dries completely, and further has not changed. For dating the paintings of the twentieth century, it can be used, making the table destruction of known standards.
And then I turned to Andrew Krusanovu, archivist, historian, author of several volumes of scientific work "Russian Avant-Garde." He is a chemist by education first, and for him the main argument - the document and chemical analysis. He came to the conclusion that the naturally aged and artificially aged thing does not have any objective, the essential differences. That is, if artificially sostarivayut thing - hair dryer, in the oven, on the balcony and then in a circle - the destruction of oil is basically the same, although, of course, poddelschiku difficult to get a date, and it can be detected.
- In other words, this method does not work.
- But with Sergei Felitsynym, Doctor of Geological and Mineralogical Sciences, they found a sure method - the isotopic composition of the binder. After the start of nuclear testing (1945) Isotopes unnatural origin spread all over the world. For man-made isotopes are strontium-90 and cesium-137 and purified from them impossible. Flax, from which the oil binders in paints, collects these isotopes from the environment. They should be in the paint, produced since the second half of the twentieth century.
We conducted the experiments about 400 reference samples - precisely dated fragments of paint. And in only one case could not determine the date of the isotope method. If the picture is not related to the restorers, the earliest samples no strontium and cesium.
- You have received a patent for his invention?
- In 2007.
- Someone is interested in these jobs?
- First, we worked only for personal funds. Now roused auctions and some collectors, funky roller fakes. But I naively thought that the major auction houses rushed to our work.
- Why do not rush?
- In my opinion, for the reason that the stream dries up perfectly authentic works of the Russian avant-garde. The appearance of unknown works from the triple - Malevich, Kandinsky, Popova, and other authors of the first level - a sensation. Over the five years since the beginning of "isotope method, I know only three such cases.
- Your method is suitable for oil painting. How to deal with other techniques?
- Made some elaboration on watercolor and tempera. But to create isotope "lines" that are suitable for other techniques that need huge databases of reference materials. Them how and equipment for research, can provide only the state.
Next idea - to see how the impact on the composition of industrial revolution abroad XVIII - XIX centuries. Then, probably it will be possible to date the works and, consequently, to identify fakes in the past 200 years.
But during these five years I have not noticed the interest in our work by officials. http://www.online812.ru/2009/10/26/014/
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Database on international exhibitions, including the theme "Art and Antiques" (Art and Antiques).
A painting of the Madonna mourning of Christ, which for many years was kept under the sofa in the American military pilot Martin Kober (Martin Kober), the script was by Michelangelo.
Cloth, authorship of which family legend ascribed by Michelangelo, has long hung in the living room, but in its "noble" origins seriously no one believed. When one of the kids knocked a picture a tennis ball, she was sent for storage under the sofa and fished out by accident in 2003.
Italian art historian Antonio Forchellino, who presented a canvas for the evaluation, was shocked.
According to art historian, the picture did not finish (X-ray showed right knee next to Madonna's not completely covered with painted piece of canvas), and a copy of this could not happen. "Not a single customer of the Renaissance would not have paid for an unfinished copy. I am convinced that this is true of Michelangelo ", - said Forchellino. The historian was also able to trace the history of cloth on the documents stored in the Vatican Library.
"Lamentation of Christ" was written around 1545 for the Marquise Vittoria Colonna, Michelangelo's patron, and a year later, Cardinal Reginald Pole, the future Archbishop of Canterbury, offered paintings by Italian Cardinal Ercole Gonzaga. As a result, cloth found in some German baroness, who had bequeathed him her maid of honor, a distant relative of his great-grandfather Martin Kober. In America, the picture came in 1883.
Opening Forchellino especially valuable because Michelangelo-painter known primarily for the frescoes in the Sistine Chapel, works as easel painting from it almost did not make it (only one known at an end, authentic and preserved painting - "Madonna Doni" from the Uffizi Gallery in Florence).
The cost of "Lamentation of Christ" is not less than $ 300 million
1.Kartina found in the home of Martin Kober
2.Etyud "Lamentation of Christ, created by Michelangelo for the Marquise Columns (Museum, Boston)
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Mikhail Kamensky ...." An intellectual in the market .. "
As Mikhail Kamensky, went to Sotheby's
Tatiana Markina, Kommersant
"All my life I have been doing about the same" - says CEO of Sotheby's Russia and CIS Michael Kamensky. Replacing the last twenty years many roles - Fellow Institute of Art, director of Russia's first art auction "Alpha-Art", a correspondent for the newspaper Kommersant, deputy director of the Pushkin Museum. AS Pushkin, Adviser to the President of the Bank of Moscow - he had the opportunity to learn the art market from different sides, becoming one of the foremost experts in this field.
«My father was interested in the gift of the seer»
"I was born in a typical Moscow family, his grandfather on the father was shot in the 38-m 20 years old grandmother has been concluded, and then an exile at Kolyma. Maternally all is well: his grandfather - a famous architect, grandmother - a teacher. I spent a happy childhood under a lot of hospitable table, still remember his oak legs. For him, drinking vodka or Saperavi, sat and heated debate about art and paradoxes of Soviet life, wonderful people - artists and art historians, writers and doctors. Listening to the intelligent conversations, where I sometimes fall asleep in an embrace with the beloved Fox. Our apartment was on the first floor of the busy street near the Kremlin, according to which parent friends have been laid forever routes in the Pushkin Museum, Leninka, conservatory and university. Entrance to the father's room is often a window, where and from where many now famous classic of art and culture simply came and went very tipsy. Other pole of my universe was the home of the closest friends of the family Sarabyanovyh a ten-minute run. In their apartment, though it was impossible to enter from the street because it was located on the first floor, but with my eyes closed and you can not tell - similar conversations, the guests, and even smells. Discussed mainly moshovskie exhibitions, artists, political events. "
about her father - the famous art critic Alexander Kamenka (1922-1992), disciple of Boris Vipper, coined the term "severe style", guru and proponent of this trend of painting the 1960's, the author of monographs on the largest Russian and Soviet painters - Mikhail Kamensky, can tell long and happy.
"My father worked at home, in the early morning published articles on your favorite" Underwood ", was ill for months, acutely experiencing censorship and persecution. He was not going to compromise with Soviet ideology of art. Active social position made it a dissenting critic. In the sixties and seventies in the entrance on duty periodically toptuny interested father and his visitors. Many years later, our neighbor at home repented that she was forced to soglyadataystvu the Moscow department of the KGB, and with great interest and pleasure, outlining the conversation through the wall, "often laughed at the jokes that are told your guests". The work of the father did not take, the family lived hard. Up until the eighties, when his books began to finally actively typing, its income consists of fees for lectures and art-critical essays. "
Financial support of the family was mom, an editor at the publishing house "Soviet Artist". With its undeniable literary and artistic gift, she would sit at the publishing house until late at night, giving a human face to other people's manuscripts. Her hundred-ruble salary allows the family to stay on the brink of poverty, but to sacrifice his own ambition and talent for talent, his father gave him the opportunity to blossom fully.
"My father was very active and in demand, daily rounds of showrooms and workshops of the Moscow artists, major addresses - Running, Maslovka ZHOLTOVSKOGO, Gorky, Vavilov, Kuznetsk Bridge, Arena, and later - CHA, and, of course, museums: the first Pushkin and the Tretyakov Gallery. I was lucky, since 10 years, he often took me with him, I knew many, many people knew me. The full range of his characters became close to me psychologically - from the Andronov, Elkonin, Tischler, Birger, Žilina, Nikonov, Popkov to Falk, Saryan, Konenkova, Golubkina, Tatlin and, of course, Chagall.
After his arrest and death of my grandfather's father developed claustrophobia in the war years were added dystrophy. Somewhere to sixty years it was different phenomenal thinness and the panic of suffocation in the subway. Therefore, all the art-exhibition race, we overcame the trolleybus and tram in conversation. Sometimes, some wealthy friends threw us to the house after the opening day. So I learned about the rare specimens of art of the forest - collectors, because basically they have something and were "Lada and Volga. Almost all of them collected the vanguard, and who often those who rarely, but came to talk. "
Thus Michael met Sanovich, Kostaki, Semenov, Torsuevym, Dudakova, Kievan Dychenko, Londoners Nina and Nikita Lobanov-Rostovsky.
"They discussed the purchase, exchange pictures. My father was interested in them and the gift of visionary artistic quality, and as a companion with whom they could be frank, because it was totally alien to the commerce and the intricacies of the collecting of intrigue. "
Young Kamensky well remembered lawyer David frog, who told incredible stories about the robbery of collectors of police raids and provocations in antique shops, the intricate division of the inheritance of prominent artists and collectors.
In the early eighties, Alexander Kamensky, overcame long-standing resistance to the Soviet archives, and bursting into spetskhran, began with gusto to gather material for a book about one of his main characters - Mark Chagall. Kamensky's first and most authoritative expert on the early period of Chagall in the Soviet Union at that time, he took upon himself the burden of watching an incredible number of works attributed to the famous master.
Michael says: "Almost all shows were held in my presence, and then listening to real and invented stories about the fate of an offering of works by 99 percent fake, I first realized the extent of the invisible art market."
For assistance, contact a variety of people: from Joseph Kobzon up to the colonels of the Moscow Moore, from the world of psychiatry to malotirazhki journalist from Belarus.
"Finnish citizen and the Lebanese Arab, in partnership bought the Chagall" Rooster Clock "Vitebsk period and asked his father to come to Paris for attribution. "Rooster" was a fake, as his father and wrote in his conclusion. After many years in London is a completely different Arab showed me a picture of the same name. When a solution of the safe deposit room door, I saw an addition of the "Rooster". The certificate in bad French with a forged signature of his father was accompanied by lengthy stories about the centuries-old friendship between Jews and Arabs, tainted Damn Yankees. "
A lot of adventurous fate of works of art Mikhail Kamensky recognize and during student vacations.
"My favorite vacation spot was a Pike, or rather, not the Pike, a small hamlet under the hill Alchak. There, as well as in Koktebel, where around the house Voloshin was born colony artistic intelligentsia around the house, mortgaged his daughter Nina Balmont Konstantinovna belonging to the clan Bruni, founded the Moscow-St. Petersburg's colony, populated by artists and art critics. There were many of all the public, including a very colorful fatties - large underground dealers and Oleg Manevich Leonid Popandopulo. Being in relationships, they traveled the country in search of masterpieces, buy and sell. The point was clearly profitable but dangerous, and they were both brave and adventurous peasants. Oleg loved art and worked in the Directorate of exhibitions of the Art Fund, his wife Natasha was an art critic, Leon was less heed. They both had the gift of storytelling - stories about different artistic twists and turns could form an alternative history of Russian art, especially in the old Russian section (as they could with the brilliance to optional for customs officers). "
«I have seen himself as a political consultant»
After graduating from the Faculty of English MSPI, Michael worked for four years, school teacher moonlighting as a translator in the Union of Cinematographers, State cinema, film festivals and summer residences of the Central Committee of the CPSU. In the early eighties began to write in the journal "Art" and "Decorative Arts".
"Then I discovered the books of the outstanding Canadian sociologist and art critic Herbert Marshall McLuhan. Videorevolyutsiya, new electronic media, social and aesthetic interpretation of the world's artistic and political process dragged me incredibly. Radical solution to go to graduate school launched a life to 180 degrees. Since Mikhail Kamensky was on the faculty of aesthetics GITISa and wrote a dissertation on the intersection theory of mass communications, sociology, art and political aesthetics. "In essence, the thesis has been on the political design on how the artist /art critic /curator may contribute to the construction of the state and public administration. I sincerely hope the professional relevance in the era of perestroika. Becoming a candidate of philosophy in 1988 with an unusual for our country theoretical training, I have seen himself as a political consultant in a team of Gorbachev's Reformers. But did not receive from me either, Vladislav Surkov, nor Marat Gelman, the coveted field while firmly holds consulting agency Saatchi & Saatchi, and his twenty-eight I could work there except by courier.
After graduation, Michael began working in the Foreign Commission of the Union of theatrical figures.
"In the late eighties border parted. Theaters began to drive, and excitement around this was terrible. Seasoned women - secretaries Inkomissii intrigued and podsizhivali each other for the sake of travel, I also had no chance. I do not even remember what I did there - translated and wrote reviews. The primary means of international communication was telex, telegraph and the symbiosis of a typewriter. Access is no control over, and I, exhausted from the boredom, came up with an innocent, I thought the rally. Seated behind the machine, I wrote a telex to invite two members of the Commission for an internship in New York on behalf of a nonexistent Rockefeller Center theater studies with full pay costs the American side. Condition was the ability to swim, drive and speak in English. Interest in the contemporary theater is implied. I subscribed to the director of the fictional philanthropic organization, honestly translating his surname into English. Happened - Michael Stounsky (stone - for England. Stone). I sincerely believed that the commission staff, constantly transforming texts from Russian into English and vice versa, they will bite and instantly appreciate the hoax. But the magic of Telex text in conjunction with the smell of unprecedented freebies plus fatty travel eclipsed their minds. In the women's team intensified intraspecific competition, the tears started and scandals. Engaged in a question by Chairman Michael Gershevich Khazanov and two deeply respected Secretary of the Board IPD Alexey V. Bartosiewicz and Mikhail Shvydkoi. Despite the apparent linguistic roughness telex, they too swallowed the bait. Since all the aunts in Inkomissii were thieves, a compromise was not possible. There were six, and the "Rockefeller Center of Theatre Research waited two. Commission's work arose.
Tormented by pangs of conscience, I repented and left the theater Foreign Ministry, going to work in an adjoining room - Centre for the Sociology CTD, which has traveled on assignment in the sociological expeditions to the most exotic theaters of the country - from Novosibirsk to the Pamirs.
Michael then worked as a researcher at the Institute of Fine Arts. From there, he invited the chief editor of the newly formed "Kommersant" Andrey Vasiliev joined the newspaper. The newspaper wrote about the problems of young capitalists and Mikhail Kamensky had great difficulty convincing even the chief editor of the bohemian as Vassiliev, that the theme of culture and arts can find a response from the beginning of cooperators. "I undertook to write about the crimes and scandals in the world of beauty, was to develop the theme of art and money, as the closest to a new Russian".
During this period the art world was a real revolution: More recently, in 1987, was the first almost uncensored exhibition - XVII youth at the Kuznetsk Bridge in 1988, Moscow hosted the first auction of Sotheby's, first art fair ART MIF, the first private gallery.
"I wrote about the life of galleries, has not yet struck the coup. In August night expected the attack, I went to the White House to join the company of fellow artists, and once there is only one edition, he rushed to dictate the text of the first booth phone booth, but rapidly lost visibility. Column BTR walked slowly into the tunnel through the crowd, pushed me right on track. Seeing the balcony of the house, from which was seen leaving the tunnel, I have to miss nothing, ran into the staircase from the courtyard. On the second floor of some frightened woman admitted me, and I grabbed the phone standing on the windowsill phone continued dictation, overhang from the balcony. Were terrible roar of the crowd and an angry roar of the engines. The view was mesmerizing beautiful and terrible. At this point, someone poured gasoline from the canister APCs and set on fire: the car got up and boomed explosion flashed to the second floor, the owner closed the balcony.
At dawn, all was quiet. It became clear that the attack would not be the people went home. On the way to the metro, I picked up a piece of skin APCs, torn to pieces by my fellow citizens. Keep this artifact in memory of the terrible night when I could easily die with those three guys. We must, perhaps, to mount it in a frame and hang on the wall.
Artists on the area I am in a huge crowd and did not find a published article "Tunnel in the blood", though did not have any relation to art criticism, but in my life has become one of the main creative results. "
«Macroeconomic imagination I do not have enough»
It was an amazing time: on the ruins of the Soviet Union rapidly germinate unseen colors of the new capitalism, and the art market is not left out. In November 1991, in an article in "Kommersant" Mikhail Kamensky talked about previously unseen innovations - the first in the history of modern Russian art fair ART MIF: «A number of commercial companies have expressed willingness to invest in the purchase of painting a lot of money. Incombank allocated for this 10 million rubles, similar amounts are planning to spend at the Fair Moscow Commodity Exchange, the bank "Muscovy", Stas Namin Centre. Prices for work ranging from two to two hundred thousand. Spread of currency prices from 500 to 11 000 dollars ... If before all the commercial gallery focused on the foreign buyer, it is now buying art rich domestic firms and only people with money. " The following year, the ideologist of ART MIF Yuri Nikich invited Mikhail Kamensky worked as the press attache of the fair. "It was already a real market, do not be shy of its goal - profit. Many people now seem naive, but for its time was revolutionary artmifovtsy were real pioneers. "
Working in ART MIF, Kamensky, continued to write reviews of the art market (in those days, the expression "conflict of interest" was not yet invented). "Wool is any newspaper in search of information, I came across in the newspaper" Evening Moscow "on a small ad for co-op Alpha-Art", which conducts pre-auction exhibition. And I go there. It was a real godsend for columnist, because such a concentration of ridiculous errors I have never come across. I poured in the paper, the soul, and they are all invited, yes invited. I wrote one article, two, three. And then someone rang Michael Bezelyansky, introduced a shareholder Alfa Group, "and asked: if I'm so smart, instead of ehidstvovat me if I try to do what is necessary. We met and I agreed. "
Co-op "Alpha-Art", soon became the auction house, was another unprecedented phenomenon of modern times. Idea of its creation belongs to Vladislav Surkov, already has an affinity for art projects and recommended the "Alpha" as an organizer of a major art collector Victor Magidsa.
"Things are up for auction Magids collected, but in 1991 the first attempt at private auctions in the recent Soviet /post-Soviet history has failed. Sumptuously published catalog was sent to the Minister of Culture Nikolai Gubenko, who spoke out strongly against it. "
It was a decent collection of thirty diverse works of art. On the cover adorned gorgeous "Lamb" Pirosmani (with an estimate of 1 million rubles, with its own rate 40:1), under a cover - works by Marc Chagall (400 thousand), Vasnetsov (100 thousand), Kustodiev (320 thousand rubles ), as well as silverware and Corinthian vase of porphyry. In 1992, the Alpha-Art "made a second attempt.
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Vladimir Roshchin presented his book "The Russian experts on the cultural values", which, according to the author, was the result of his five-year operation aimed at combating the counterfeiting of art history. Vladimir Roshchin known edition of the directory "Note: search" and "Catalogue of counterfeit works of art" - the latter, in particular, has led to numerous scandals in the antique and expert environment, as presented to the public hundreds of paintings that are potentially counterfeit.
In his latest work on this subject the author set out to finally separate the sheep from the goats - in his view, the main perpetrators of domestic instability and criminality of the art market are the experts themselves. They enjoy their impunity (extreme in the history of counterfeiting is really always the art dealer seller), "settling scores with each other and with antique dealers." The new handbook of experts was drawn from the analysis of findings on cultural values (which the author passed through the hands of hundreds), and based on a survey of major Russian collectors.
As a result of this rigorous selection process in the list of experts who can be trusted, were only 24 names (in four sections: Russian painting, Western painting, applied art - works by Faberge, icons). Under Russian painting - twelve names, of which only two names of experts from the Tretyakov Gallery in section iconography - the five names, among which the name of the collector Victor Bondarenko. In the DPI in general only one name, collector and museum director of Faberge in Baden-Baden, Alexander Ivanov.
If this is all the experts who can trust the Russian collector, the prospects of our art market are grim. However, the author explains in the preface to the handbook that he has "for informational purposes and may be changed or supplemented." Tatiana Markina
Antique dealers held hostage by the grandmothers 19.10.10 13:57 Moskovsky Komsomolets.
Material posted October 19, 2010 at 13:57
70 percent of works of art in the Russian market - fake
Following the "Catalogue of fakes" and "Warning: The search for" Vladimir Roshchin publisher issued a handbook which lists the honest experts. That's because the Russian market is filled with fake works of art. Experts believe that they share - 70 percent. A control specialists is almost impossible, unless caught in flagrante delicto.
Total in the directory listed 24 experts on cultural values. In fact, in Moscow three times as many specialists. The list does not include those experts whose false conclusions were opened with the release of six directories Note: search "and five" directory fakes ", issued by intsiative Rosokhrankultura. But even more Roshchin relied on the opinion of the famous Russian collectors, among them the five years he has conducted a survey.
- Directories and find the problem, which is still not solved - expert - said Vladimir Roshchin. - One of the experts were wrong for the money, others - by accident. When they are taken by the tail, they say: oh, wrong, sorry. So that antiquarians have been held hostage by the grandparents!
Publisher sure to monitor the reliability of expert advice, you should create a special center or association. Similar structures are already there at CHA, which is headed by Vasily Bychkov. However, it shall become optional rather than required. Vladimir Roshchin believes that false conclusions often emerge because of the strife in the shop. "For example, one expert confirms the authenticity of the picture, and another if the collector or hates the most expert, said that no, it's fake. Everything is built on personal relationships "- sure the publisher. Together with reference Mr. Roshchin presented yet and the movie titled "Errors or fraud," which brought together all the "secret history of art" that is collected over the past years for falsifying material works of art. He was confident that many more people are trading expert opinions. For example, there are at the Center Grabar. Here in the Tretyakov Gallery, which several years ago confessed to a hundred false conclusions, now everything is in order. With the advent of the new Director of the situation there has changed dramatically.
Meanwhile, thanks to directories "Attention: search" in the museum funds were returned more than 200 million rubles.
Of course, one should not assume that this book "Russian experts kulturynm values," the ultimate truth. It lists mostly those people who are called by collectors. But to continue to work on a handbook Roshchin not going to. He is confident that this state should do.
Released directory of Russian experts on cultural values
22.10.2010 /Julia Vinogradova. Nezavisimaya Gazeta - 3 hours ago
Just a few days before the opening of the Russian Antique Salon hosted a presentation guide "Russian experts on cultural property" and the movie "Errors or fraud", telling about the state of the Institute examination of works of art in Russia. The author of both projects - Vladimir Roshchin, publisher and co-director of Catalogs tracing and fraud Rosokhrankultura. At the time these publications aroused antiques market and have been dubbed "Black Book". However, as reported by himself Roshchin current projects no scandalous sensation can not be held, but are merely the logical result of his years of work.
The film - already a bit late (released in 2009). It still stands already largely discredited expert Vladimir Petrov, and we are talking about the Tretyakov Gallery and the Grabar Center, where during this time had time to change leadership.
But the guide is much more than a curiosity. In thin red-and-white booklet - 24 experts. List of sometimes surprising - for someone of the experts flatly do not expect it to see someone on the contrary, I would like to include. Vladimir Roshchin said that the handbook does not purport to be an exhaustive study of the theme, and all professionals who have got into it, were selected on the basis of an analysis of hundreds of examinations and interviews with leading collectors (who, apart from Aven, fell into this sheet, it is unknown - collectors, not wanting to to spoil relations with the experts prefer to hide their names). Reference little overlap with a similar set of experts accredited by the Confederation of antique and art dealers. And, obviously, will on the part of Antiquaries appropriate response.
However, Roshchina it does not bother - he argues that the antique dealers in the majority or not guilty of anything, they just hostage situations with expertise and have always opposed Directory fraud solely from a sense of self-defense. The main culprits of the same thing that has happened in the market - experts. The verdict is harsh: "Put like someone of them in jail, then maybe something would change - says Roshchin - and then when they get caught by the tail, they just say: We were wrong."
While the market decide everything personal arrangements and have to be total irresponsibility of experts before the law, the situation will not change. Obvious need for a law on the examination, the general rules of the game, ordering relations on the market. Sam Roshchin sees the solution in the creation of a certain joint center, which would be carried out accreditation. True, to create a system already tried Rosokhrankultura. The attempt failed: the list includes hundreds of people, including the mass of unscrupulous experts.
How much agree with all of these major market participants - antique dealers will likely be known for a few days ago. Today in Moscow the Antiques Salon, which should show the current state of the art market in Russia.
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